Were you aware that this argument was initiated by Christians in an effort to defend CCM? Secular authors, scientists, and rock musicians have proved otherwise. If music is amoral, then why does CCM trigger moral failure in some people? (See quote later in the article.)

Just as one alphabetical letter by itself is amoral, so is one musical note by itself amoral. However, just as various letters can be assembled to form words and sentences to create a thought that is either moral or immoral, so can musical notes be assembled together using various techniques to create music that is either moral or immoral.

Multiple books have been written by secular authors who demonstrate that music is moral, or immoral, depending upon the techniques used to create a musical message. In addition, scientific studies have also concluded that different types of music have powerful messages and affects on listeners, apart from any lyrics. (These are documented in Music and Morals.)

These authors further show that rock music is purposely designed to focus on the sexual through specific music techniques, the result of which is exhibited through sensual body movements in the listener; again, this is accomplished apart from the lyrics.

Rock musicians readily and crudely admit this. [See article, “Quotes About The Beat”.]

Much contemporary Christian music uses the very same techniques, from soft contemporary “Christian” rock and jazz to hard core “Christian” metal and everything in between. The reason we don’t think it affects us is that we have become desensitized: anything experienced over and over becomes acceptable after a time.

If we believe that music is amoral, then we must answer these questions: Why do some music styes cause us to move our bodies in sensually suggestive movements, while other types of music do not? Why do certain styles of music trigger temptation and moral failure in some listeners?

Consider this quote:

“I have seen the connection between sensual “Christian” music and moral failure; I have witnessed time and time again Christians who could not find freedom from moral failure until they destroyed their sensual “Christian” music.” (Dr. Jim Logan, International Center for Biblical Counseling of Iowa, Inc.)

It’s interesting that the secular world “gets it” about music and the morality it can convey without lyrics. For example, in a 2004 St. Louis Post Dispatch newspaper music review, the writer referred to a certain musical piece as “slow and erotic,” (“Try the Swing ‘Bolero,’ or the Fox-trot ‘Bolero,’” by Sarah Bryan Miller, June 24, 2004).

For decades, burlesque dancers have been suggestively dancing to equally suggestive music. This type of immoral dance, by definition, requires sensually suggestive music: the dance is just an outward manifestation of the composer’s arrangement of the music for its specific intent: a burlesque (carnal/flesh-pleasing) dance. This type of dance/body movement does not match the moral (non-carnal) rhythms of waltz music, classical music, or the traditional hymn style.

Scientific studies also conclude that music by-passes the intellect and goes straight to the emotions, apart from lyrics.

Norman M. Weinberger, professor in the Department of Neurobiology and Behavior at the University of California, Irvine, states:  “…music can rapidly and powerfully set moods and do so in a way not as easily attained by other means.” (N.M. Weinberger, “‘Elevator Music’: More Than It Seems.” MuSICA Research Notes, 1995, Volume II, Issue 2 (Fall 1995).

He also relates:

“Our thinking and our behavior are colored by music, which seems to have direct and unconscious access to the brain substrates of much if not all our individual lives.” (N. M. Weinberger, “The Coloring of Life: Music and Mood,” MuSICA Research Notes, 1996, Volume III, Issue 1 (Spring 1996).

In yet another study, Professor Weinberger reports: 

“Music has power: it influences our thinking and behavior and not only conveys emotions, it produces genuine emotional states in the body.” [Emphasis, mine.] (N.M. Weinberger, “To the Point: ‘Understanding Music’s Emotional Powers,’” MuSICA Research Notes, 2001, Volume VIII, Issue 1 (Winter 2001).

Undoubtedly, music conveys a message on its own, apart from any lyrics–secular or sacred, and that musical message can be moral or immoral, non-carnal or carnal. Furthermore, we will respond to the music FIRST, the lyrics are secondary.

Yes, we naturally respond physically to most all music; however, there is a simple test which quickly identifies a piece of music as non-carnal or carnal: if we were to tap our toes, are we tapping our toes to the melody (played “straight” without any swing rhythms)? Or are we tapping our toes to an additional back-beat or swing rhythm?

If we were to move our bodies to this piece of music, would we keep our torso straight, as in traditional folk dance, ballet, a waltz, or a traditional march? These are non-carnal movements because they are not at all sensually suggestive.

Conversely, if are we responding and moving to an additional, offbeat drum rhythm or other swing rhythms in the musical piece, the response is usually sensually suggestive, such as hip-swaying, twerking, or a shoulder shimmy. I would hope we can agree that such movements are carnal.

[And, no, not all drums are wrong. See article, “What About Drums?”]

Whether we admit it or not, our bodies know the difference between non-carnal and carnal music because music bypasses the mind and goes straight to the emotions, as the scientific studies mentioned above conclude.

Different types of physical responses to different styles and techniques in music easily demonstrate whether music is spiritual or carnal. We get a visual picture, so to speak, of what is going on in the music.

Therefore, since we can objectively identify specific music techniques that make music, apart from lyrics, moral or immoral, and since it has been scientifically proven that music affects our emotions and produces “genuine emotional states in the listener,” music most definitely is not amoral: it is either moral or immoral.

Further, adding lyrics, no matter how spiritual, cannot make sensual music morally pure, because the message of the music does not match the message of the lyrics. Putting Christian lyrics to immoral music doesn’t cause the music to become moral any more than attending church makes a person a Christian. [See article, “Aren’t Lyrics all That Matter?”]

Music is a vehicle for the lyrics, and for the Christian, the musical vehicle for our worship music should match the lyrics–both should be “spiritual” (non-carnal).

Can we honestly think that God wants us to praise Him with sensually suggestive music, or apply musical or vocal techniques that are known to arouse immoral feelings, thoughts, and actions in others?

Would He consider these practices “amoral”?